{"title":"Titus Andronicus","authors":"Adele Seeff","doi":"10.5040/9781350068674.ch-001","DOIUrl":"https://doi.org/10.5040/9781350068674.ch-001","url":null,"abstract":"One of the more interesting examples of the global circulation of texts and productions is the Antony Sher-Gregory Doran 1995 production of Titus Andronicus at the Market Theatre, Johannesburg. Gregory Doran, an English actor/director with experience at the Royal Shakespeare Company, made the decision to direct the play with Antony Sher as Titus during a visit by the Royal National Theatre's Studio in September 1994, just months after the first democratic elections in post-apartheid South Africa. In this paper, I argue that Doran, who cast his production as a conflict between extreme rightwing Afrikaners and tsotsis (black township gangsters) in a post-apartheid South Africa, set off a debate in the metropolitan center/colonial/postcolonial arena that had its origins in the earliest introduction of formal theater to the Colony in 1801 and in key historical/political events of nineteenth and twentiethcentury South Africa. One of the more interesting examples of the global circulation of texts and productions is the Antony Sher-Gregory Doran 1995 production of Titus Andronicus at the Market Theatre, Johannesburg. The production opened March 27, almost a year after the first democratic elections ever held in South Africa on April 27, 1994, elections that brought an official end to apartheid with the inauguration of Nelson Mandela as president. The end of apartheid also ushered in the \"New South Africa,\" a slippery term minted in 1990 by then-President F. W. de Klerk, the last pro-apartheid Nationalist party president, in his speech announcing the release of Mandela from prison. It is not insignificant that Doran directed the play at the Market Theatre, a theater founded in 1976 by Barney Simon during one of the most repressive periods of the apartheid regime with the mission of playing to desegregated audiences. Indeed, Gregory Doran, an English actor/director with experience at the Royal Shakespeare Company, made the decision to direct Titus Andronicus and to cast his partner, Antony Sher, as Titus during a two-week visit to the Market Theatre by the Royal National Theatre's Studio in September 1994, just months after the elections in post-apartheid South Africa. A troupe of British actors, including Sir Ian McKellan, arrived for two weeks of actors' workshops and classes at the 2 Borrowers and Lenders Market Theatre. That visit represented a complicated homecoming for the English-speaking, SouthAfrican born, British-naturalized actor Antony Sher. Sher had played his small part in the antiapartheid struggle, burning his South African passport when he was granted British citizenship, joining protest marches, endorsing the Cultural Boycott imposed on South Africa, voting in London in the 1994 South African elections, and, finally, reclaiming his South African passport for use on this particular journey. Positioned as always and inexorably \"other\" (in his own words, \"trebly a member of three minorities — white, gay, and Jewish\"), Sher, by virtue of th","PeriodicalId":308608,"journal":{"name":"Studying Shakespeare Adaptation","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129464576","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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